The Glenstone Museum in Potomac, Maryland, has acquired an eight-work set of watercolors by Hilma af Klint from David Zwirner, making it the first institution in the U.S. to own work by the Swedish artist. The “Tree of Knowledge” (1913–15) series features a central tree element that appears to evolve in form across each watercolor—at times unrecognizable as a plant, an orb, and a machine.
ARTnews describes the acquisition as “a landmark event” and notes that it is rare for the artist’s works to hit the market—partially due to af Klint’s request that only full series be bought, not individual paintings. “Tree of Life” is on view at David Zwirner, London, from March 2–April 2, before heading to its new home in Maryland.
Pioneering Cuban American abstract artist Carmen Herrera has died at age 106.
Jordanian artist Mona Saudi, whose modern sandstone sculptures were seen worldwide, has died at age 76.
The 2022 Met Gala exhibition will feature commissioned cinematic vignettes created by top film directors including Janicza Bravo, Sofia Coppola, Julie Dash, Regina King, Autumn de Wilde, and Chloé Zhao.
At the 2022 Berlin Film Festival, women dominated headline awards—two best film prizes went to female directors, while both acting awards, which are gender-neutral, went to women, as did the best director award.
The New Yorker interviews rock-and-roll icon Stevie Nicks, who talks about her songwriting process, artist Sulamith Wülfing’s tarot deck, her friendship with bandmate Christine McVie, and more.
The Philbrook Museum of Art in Tulsa, Oklahoma, has acquired Marisol’s sculpture Magritte II (1998), a rendering of the Surrealist artist René Magritte. The work is now on view.
ARTnews profiles Nigerian artist Ifeyinwa Joy Chiamonwu on the occasion of her exhibition Genesis, on view at New York City’s Jack Shainman Gallery.
The Guardian celebrates Graciela Iturbide, who will turn 80 this year, with a roundup of the artist’s poetic photographs.
For Washington, D.C.’s forthcoming 11th Street Bridge Park, mother-daughter duo Martha Jackson Jarvis and Njena Surae Harvis will install a series of 11 multi-colored sculptural arches.
For Art in America, María Esther Fernández, artistic director of the Cheech Marin Center for Chicano Art & Culture, writes about creating a nexus for Chicanx art and research.
The Guardian profiles Warsan Shire, whose new poetry collection melds verse and reportage to capture voices of the Somali diaspora.
Shows We Want to See:
At the SculptureCenter in Long Island City, New York, Liz Larner: Don’t put it back like it was is the artist’s largest survey since 2001, presenting more than 30 years of work. Featured works include Larner’s early experiments with bacterial cultures and machines, installations that respond to architecture, sculptures that reconsider figuration, and recent ceramic works. Artnet interviewed the artist. On view through March 28.
At London’s Institute of Contemporary Art, Decriminalised Futures presents interdisciplinary works by 13 international artists who address the experiences of contemporary sex workers. The portraits, embroidery, books, and sculptures present various feminist and intersectional perspectives on sex work and issues faced by sex workers, people of color, trans people, migrants, and disabled people. Artnet profiled the show. On view through May 22.